In Luis Miguel Isava's summation of the VII Seminario's discussions about the relationship of art and politics, he reminds us that both terms are historically and culturally unstable and must be understood in context. More

Erik del Bufalo says that in art, the political is expressed not through its message but its aesthetics, and that it is in the modifications of art's intrinsic forms where political evidence can be found, not in its ideas, which are extrinsic. More

Sofía Frigerio delineates points of correspondence between modern artists who made works of geometric abstraction in Sweden and Latin America, as seen in the exhibition Concrete Matters [Feb 24, 2018-May 13, 2018] at Stockholm’s Moderna Museet. More

One of the questions we are most often asked at the CPPC is about where the collection may be seen. Now you can see the location of our artworks on the interactive map we’ve developed to help you follow the collection as it travels the globe! More

We are proud to announce that the three in-gallery videos, produced by El Tigre Productions for the exhibition "Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros", were awarded two GLAMi awards More

The Museum of Modern Art announces the appointment of Inés Katzenstein as the inaugural Director of the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America, in addition to being named Curator of Latin American Art. More

The Getty’s special collections archives include a wealth of ephemera, such as magazines, flyers, and pamphlets, related to the mid-twentieth century Concrete art movement in Latin America. Zanna Gilbert describes how these primary documents shed light on the inventive and interdisciplinary work of Concrete artists represented by a group of their works from the CPPC on loan to the Getty for a three-year investigation into their physical processes and philosophic foundations. More

Zanna Gilbert, from the Getty Research Institute, and Pia Gottschaller, from the Getty Conservation Institute, demonstrate how Argentine artists working in the 1940s broke the tradition of painting-as-window with shaped paintings (marcos recortados) and works that even pushed beyond the wall to blur the boundary between sculpture and painting. Watch Video